Toning Black & White Photographs | James Gilmore, Photographer November 30, 2011 by James Gilmore Toning Black & White Photographs In photography, toning is a method of changing the color of black-and-white photographs. In analog photography, toning is a chemical process carried out on silver-based photographic prints. This darkroom process can not be done with a color photograph and although the black-and-white photograph is now toned, it is still considered a black and white photograph as it is monochromatic. Because toners convert the silver of the image into some other material, they can improve the long-term stability of a print. As well as toning the whole picture, you can achieve particularly striking results in some cases by toning (or coloring) selected areas. Next Wednesday, Dec. 7th, at 3pm, we will be ‘stinking up’ McCloud Hall with sepia toner. Please bring UNMOUNTED black and white photos for toning. You can sepia tone individual photos, or your whole project. Dress down for this activity, or just bring an old kitchen apron to wear. NOTE: I am requiring at least one sepia photo in your notebook!

Sepia Toning Sepia toning converts the silver image to tones ranging from light to dark brown. Such toning can be achieved by using either Direct or Indirect toners. Sepia toning requires the image to be bleached before toning. Both lead to an improved image permanence. Below gives details on ‘Direct’ and ‘Indirect’ techniques – for sepia toning images. Direct Sulphide toners Direct Sulphide toners are single solution toners, and act on the image directly – to convert it (partially or completely) to silver sulphide. Direct sulphide toners work well with Multigrade FB Warmtone paper. Such toners have little effect on Multigrade IV papers however. These types of toners have the advantage that toning can be stopped when the desired colour is reached, and also partially toned images can be further treated in other toners to produce various other special effects. Prints toned in direct sulphide toners generally have similar density and contrast – to untoned prints. These toners can be used at room temperature but they act very slowly – taking up to 30 minutes to reach completion.

This time can be shortened considerably by raising the temperature to 100F/38C, but the drawback is that at higher temperatures this already initially strong smelling toning solution – will be even more unpleasant. Examples of commercially available direct sulphide toners are :- Kodak Brown toner, Photographers Formulary Hypo-alum, and Photographers Formulary Polysulfide. Indirect Sulphide toners Indirect sepia toning is done in three stages. First the print is soaked in a potassium ferricyanide bleach to convert the metallic silver to silver halide. The print is washed to remove excess potassium ferricyanide then immersed into a bath of toner, which converts the silver halides to silver sulfide. The bleach used is normally a ferricyanide bromide type – which converts the silver image to silver bromide. The darkening (redeveloping) solution is a solution of sodium sulphide. This solution has a very strong/nasty smell – and most users now prefer to use odorless toners. Odorless toners use an alkaline solution of thiourea to convert the silver bromide image to silver sulphide.

Apart from being odorless, they also have the advantage of allowing the resulting image color to be adjusted by controlling the pH of the second bath. The pH adjustment is achieved by adding more or less sodium hydroxide solution to the second bath. More additive gives a colder image tone, less additive gives a warmer image tone. Prints toned to have a very warm image tone generally have considerably lower density and contrast to untoned prints. Examples of commercially available indirect sulphide toners are : Indirect sulphide toners – Berg Rapid RC Sepia, Kodak Sepia, Photographers Formulary Sepia Sulphide 221, and Tetenal Sulphide. Thiourea sulphide toners (non variable warmth) – Photographers Formulary Thiourea, Speedibrews Speedisepia. Thiourea sulphide toners (variable warmth) – Fotospeed ST20 sepia toner, Rayco Varisepia, Tetenal Triponal. Duotones Photographic Toning In photography, toning is a photographic print toning process carried out on silver-based (black-and-white) photographic prints to change their color.

Some toning processes can improve the chemical stability of the print and allow it to last longer. Other toning processes can make the print less stable. Many early prints that exist today were toned with sepia toner. Most toners work by replacing the metallic silver in the emulsion with a silver compound, such as silver sulfide (Ag2S) in the case of sepia toning. The compound may be more stable than metallic silver and may also have a different color or tone. Different toning processes give different colors to the final print. In some cases, the printer may choose to tone some parts of a print more than others. Toner also can increase the tonality of a print. This increases the range of visible shades without reducing contrast. Selenium toning is especially strong in this regard. Selenium toning Selenium toning is the most popular of the archival toning processes, converting metallic silver to silver selenide. In a diluted toning solution, selenium toning gives a red-brown tone, while a strong solution gives a purple-brown tone. Selenium toning may not produce prints quite as stable as sepia or gold toning.

However, its appearance is much more subdued than sepia and it is cheaper than gold. Selenium toning also increases the tonal range available in the paper. Different printers use somewhat different methods of selenium toning, but most often a fixed (and perhaps rinsed) print is placed in selenium toner solution and then rinsed, treated with hypo clearing agent, washed, and hardened. Gold toning used alone gives blue blacks, but used with sepia toners produces orange-red effects. Sepia Toning Sepia is a rich brown pigment derived from the ink sac of the common cuttlefish, and it is also the name of a dark brown-grey color. Sepia was commonly used as writing ink in classical times. In the last quarter of the 18th century, Professor Jacob Seydelmann of Dresden developed a process to extract and produce a more concentrated form for use in watercolors and oil paints. Sepia is also favored in photography; the color can be obtained with a gold toning bath. The reddishness we nostalgically associate with sepia is actually the result of fading over time. Consequently, sepia has become a very vaguely defined term. The word sepia is Greek for "cuttlefish".

Sepia tones in pop culture Sepia-toned images are heavily associated with the 1800s and "that old-time feel." Many photographs of the American Old West were recorded in sepia tones, particularly Edward Weston's photos of Carmel. The Kansas scenes in The Wizard of Oz were in sepia tone, until Technicolor takes over in the land of Oz. Wings of Desire movie by Wim Wenders is filmed in sepia mostly, to depict that the movie protagonists, invisible angels, lack the usual human senses; when the angels are not present, the movie is shown in full color. Don Hong-Oai Photographer whose unique and poetic images of the Chinese landscape were created by blending photo negatives, who began showing his photographs at street fairs after moving to San Francisco's Chinatown and went on to see his work exhibited throughout the world and sought after by private, corporate and museum collectors, died on June 8, 2004 in San Francisco, having undergone heart surgery in December. He was 74 years old. Charles Franï¿½ois Jeandel (1859 - 1942) was a honorable member of the Archeological Society of Charente.

With his wife Madeleine (left picture), he seemed to have a quiet life in the countryside. Or not (right picture). Charles and Madeleine didnï¿½t have any children. Itï¿½s a miracle that this album didnï¿½t get lost or finish in the hands of a private connoisseur... Today, the collection belongs to the Musï¿½e dï¿½Orsay. The blue cyanotyped pictures give a touch of morbid mystery to these images. Platinum prints Platinum prints, also called platinotypes, are photographic prints made by a monochrome printing process that provides the greatest tonal range of any printing method using chemical development. Unlike the silver print process, platinum lies on the paper surface, while silver lies in a gelatin or albumen emulsion that coats the paper. As a result, since no gelatin emulsion is used, the final platinum image is absolutely matte with a deposit of platinum (and/or palladium, its sister element which is also used in most platinum photographs) absorbed slightly into the paper.

Small Gamut Toneable Inkset - for Black and White Inkjet Printing Using this inkset the photographer can tone a print warmer or colder and produce your own definition of a neutral print. This flexibility, is a prime reason why the Small Gamut inks are our most popular inkset for black and white inkjet printing. Small Gamut effects include: selenium-toned silver; black and warm Gray duotone; warm-tone; cool-tone; absolute neutrality; split toned; or even localized color effects! This inkset has a certified Longevity of 60 - 100 years (depending on the amount of toning and paper used). Small Gamut ink is compatible with the full range of Lyson Media. Hue/Saturation Toning Sepia toning Adobe recommends setting Hue = 27 and Saturation = 21 and checking the Colorize box in the Hue/Saturation filter in Photoshop Create a sepia PSD template with a hue/saturation adjustment layer. Hue = 27 and Saturation = 21 Image>Adjustments>Hue/Saturation The Hue/Saturation command has an option called "colorize".

This changes the way hue and saturation works and applies a "wash" of color to the image. Select "colorize" To begin, select the colorize (or equivalent) option. Adjust Hue As the hue slider is moved, the color of the picture will change. It's pretty easy to get every color of the rainbow. For a sepia look, try a hue setting between 30 and 50. Adjust Saturation For a more subtle tone, adjust the saturation to between 30-40. Toning Techniques | Pixelfarmize Experimental Photography Toning Techniques In photography, toning is a photographic process carried out on silver-based (black-and-white) photographic prints to change their colour. Some toning processes can improve the chemical stability of the print and allow it to last longer. Other toning processes can make the print less stable. Many early prints that exist today were toned with sepia toner. Most toners work by replacing the metallic silver in the emulsion with a silver compound, such as silver sulfide (Ag2S) in the case of sepia toning. The compound may be more stable than metallic silver and may also have a different colour or tone.

Different toning processes give different colours to the final print. In some cases, the printer may choose to tone some parts of a print more than others. Toner also can increase the tonality of a print. This increases the range of visible shades without reducing contrast. Selenium toning is especially strong in this regard. Many toners are highly toxic. It is extremely important that the chemicals are used in a well ventilated area. Rubber gloves and face protection should be worn when handling them. Some toners are carcinogens. Sepia toning The term ‘sepia’ comes from the name of an artists’ pigment made from the Sepia cuttlefish, found in the English Channel, Sepia officinalis, the Common Cuttlefish. In sepia toning, chemicals convert the metallic silver in the print to a sulfide compound, which is much more resistant to the effects of environmental pollutants such as atmospheric sulfur compounds. This is why many old photographs are sepia toned—those are the ones that have survived until today. There are two main types of sepia toners in modern use: 1. Direct Sulphide Toners Polysulfide or ‘direct’ toners do not require a bleaching stage.

Direct sulphide toners work well with warmtone papers. Such toners have little effect on cooltone papers however. These types of toners have the advantage that toning can be stopped when the desired colour is reached, and also partially toned images can be further treated in other toners to produce various other special effects. Prints toned in direct sulphide toners generally have similar density and contrast – to untoned prints. These toners can be used at room temperature but they act very slowly – taking up to 30 minutes to reach completion. This time can be shortened considerably by raising the temperature to 100F/38C, but the drawback is that at higher temperatures this already initially strong smelling toning solution – will be even more unpleasant. Examples of commercially available direct sulphide toners are: Kodak Brown Toner, Photographers Formulary Hypo-alum, and Photographers Formulary Polysulfide. 2. Indirect Sulphide Toners I. Sodium sulfide toners – the traditional ‘rotten egg’ toner. II. Thiourea (or ‘thiocarbamide’) toners – these are odourless and the tone can be varied according to the chemical mixture.

Sodium sulphide toners and non-variable warmth thiourea toners work well with Multigrade papers, but give a rather cold brown image colour on Multigrade IV papers. Prints toned in sepia toner can be further toned in blue (iron) toner to give a green tone – or, if only partially bleached, a blue/green/sepia split tone. They can also be treated in a gold toner to produce an orange-red image. The bleach used is normally a ferricyanide bromide type – which converts the silver image to silver bromide. The darkening (redeveloping) solution can be a solution of sodium sulphide. However this solution has a very strong/nasty smell – and most users now prefer to use odourless (thiourea) toners. Odourless toners use an alkaline solution of thiourea to convert the silver bromide image to silver sulphide. Apart from being odourless, they also have the advantage of allowing the resulting image colour to be adjusted by controlling the pH of the second bath. The pH adjustment is achieved by adding more or less sodium hydroxide solution to the second bath.

More additive gives a colder image tone, less additive gives a warmer image tone. Prints toned to have a very warm image tone generally have considerably lower density and contrast to untoned prints. Incomplete bleaching creates a multi-toned image with sepia highlights and grey mid-tones and shadows. This is called split toning. The untoned silver in the print can be treated with a different toner, such as gold or selenium. Examples of commercially available indirect sulphide toners: Indirect sulphide toners: Berg Rapid RC Sepia, Kodak Sepia, Photographers Formulary Sepia Sulphide 221, and Tetenal Sulphide. Thiourea sulphide toners (non variable warmth): Photographers Formulary Thiourea, Speedibrews Speedisepia. Thiourea sulphide toners (variable warmth): Fotospeed ST20 sepia toner, Rayco Varisepia, Tetenal Triponal. Selenium toning Selenium toning is the most popular of the archival toning processes, converting metallic silver to silver selenide.

In a diluted toning solution, selenium toning gives a red-brown tone, while a strong solution gives a purple-brown tone. The change in colour depends upon the chemical make-up of the photographic emulsion being toned. Chlorobromide papers change dramatically, whilst pure bromide papers change little. Fibre-based papers are more responsive to selenium toning. Selenium toning may not produce prints quite as stable as sepia or gold toning. However, its appearance is much more subdued than sepia and it is cheaper than gold. Selenium toning also increases the tonal range available in the paper. Different printers use somewhat different methods of selenium toning, but most often a fixed (and perhaps rinsed) print is placed in selenium toner solution and then rinsed, treated with hypo clearing agent, washed, and hardened. Recently, doubts have surfaced as to the effectiveness of selenium toner in ensuring print longevity. Selenium toners are single solution toners that partly convert the original silver image to silver selenide. The degree of toning can be varied by changing the toning time or solution dilution.

With cooltone papers, very little colour change results in selenium toners, but it tends to darken the shadow areas of the prints, and tint them purple. The highlights do not change in density however. Warmtone papers are very responsive to selenium toners. Toning these with higher dilutions (e.g. 1+10, 1+20) of selenium toner – gives a slight cooling of the image tone and a shift in hue towards red. Used at lower dilutions (e.g. 1+3, 1+5) – a purplish brown can be achieved. Selenium compounds are extremely toxic, so preparing the solutions from raw materials is hazardous. The best if you use a proprietary brand, such as Kodak Rapid Selenium toner (this is diluted 1+3 for usage). Other commercial selenium toners: include Berg Selenium, Fotospeed SLT20, and Maco Selenia. Metal toning Metal replacement toners replace the metallic silver, through a series of chemical reactions, with a ferrocyanide salt of a transition metal. Some metals, such as platinum or gold can protect the image.

Others, such as iron (blue toner) or copper (red toner) may reduce the lifetime of the image. Most commercial metal toners are single solution toners – readily available brands include those from Fotospeed, Speedibrew and Tetenal. Gold toning Gold toning used alone gives blue blacks, but used with sepia toners produces orange-red effects. Most commercial gold toners are single solution toners. When used on their own, gold toners will shift the image colour of a print to a blue black. However, when used in combination with a sepia toner – they will produce attractive orange-red colours. The archival Gold Protective Solution (GP-1) formula uses a 1% gold chloride stock solution with sodium or potassium thiocyanate. It is sometimes used to split tone photographs previously toned in selenium for artistic purposes. The mechanism involves gold metal being deposited onto the silver of the image. Examples of commercial gold toners include :- Berg gold protective solution, Photographers Formulary Gold 231, and Tetenal gold toner. Prints toned in gold toners generally have similar density and contrast to untoned prints – the image being used should receive normal exposure and be fully developed.

Dye toning Dye toners replace the metallic silver with a dye. The image will have a reduced lifetime compared with an ordinary silver print. Examples of commercial dye toners include those from Colorvir and Berg. Split toning Split toning involves the use of more than one colour toner. Split toning techniques are used to obtain different colours for the highlight and shadow areas of prints – by using two toners one after the other. The table below shows some of these example effects possible. First Toner / Second Toner = Effect Sepia / Blue = sepia highlights, blue shadows, green mid-tones Sepia / Selenium = brown purples Selenium / Gold = purple-blue mid tones Blue / Selenium = blue shadows and buff highlights Some toners for example Kodak T-21 toner (Nelson gold) – tone the highlights and shadows at the same time. These are not so effective for split toning techniques.

Resources Photographic print toning : Wikis (The Full Wiki) 7 External links History Beginning in the 1880s, sepia was produced by adding a pigment , made from the Sepia officinalis cuttlefish found in the English channel [1] , to the positive print of a photograph. The term 'sepia' comes from the name of the pigment. Chemical toning Most toners work by replacing the metallic silver in the emulsion with a silver compound, such as silver sulfide (Ag2S) in the case of sepia toning. The compound may be more stable than metallic silver and may also have a different colour or tone. Different toning processes give different colours to the final print. In some cases, the printer may choose to tone some parts of a print more than others. Toner also can increase the range of visible shades visible in a print without reducing the contrast. Selenium toning is especially effective in this regard. Some toning processes can improve the chemical stability of the print, increasing its potential longevity. Other toning processes, such as iron and copper toners, can make the print less stable. Many chemical toners are highly toxic.

It is extremely important that the chemicals are used in a well ventilated area. Rubber gloves and face protection should be worn when handling them. Some toners contain chemicals that are carcinogenic . Selenium toning Selenium toning is a popular archival toning process, converting metallic silver to silver selenide . In a diluted toning solution, selenium toning gives a red-brown tone, while a strong solution gives a purple-brown tone. The change in colour depends upon the chemical make-up of the photographic emulsion being toned. Chlorobromide papers change dramatically, whilst pure bromide papers change little. Fibre-based papers are more responsive to selenium toning. [2] Selenium toning may not produce prints quite as stable as sepia or gold toning. Recently, doubts have surfaced as to the effectiveness of selenium toner in ensuring print longevity. [3] Sepia toning See also: Sepia (color) Sepia toning is a specialized treatment to give the photograph a warmer tone and to enhance its archival qualities. Chemicals are used to convert the metallic silver in the print to a sulfide compound, which is much more resistant to the effects of environmental pollutants such as atmospheric sulfur compounds.

Silver sulfide is at least 50% more stable than silver . [4] There are three types of sepia toner in modern use; Sodium sulfide toners - the traditional ' rotten egg ' toner; Thiourea (or 'thiocarbamide') toners - these are odourless and the tone can be varied according to the chemical mixture; Polysulfide or 'direct' toners - these do not require a bleaching stage. Except for polysulfide toners, sepia toning is done in three stages. First the print is soaked in a potassium ferricyanide bleach to re-convert the metallic silver to silver halide . The print is washed to remove excess potassium ferricyanide then immersed into a bath of toner, which converts the silver halides to silver sulfide. Incomplete bleaching creates a multi-toned image with sepia highlights and grey mid-tones and shadows. This is called split toning. The untoned silver in the print can be treated with a different toner, such as gold or selenium.

[5] Metal replacement toning Metal replacement toners replace the metallic silver, through a series of chemical reactions, with a ferrocyanide salt of a transition metal . Some metals, such as platinum or gold can protect the image. Others, such as iron (blue toner) or copper (red toner) may reduce the lifetime of the image.[citation needed] Metal replacement toning with gold alone results in a blue-black tone. It is often combined with a sepia toner to produce a more attractive orange-red tone. The archival Gold Protective Solution (GP-1) formula uses a 1% gold chloride stock solution with sodium or potassium thiocyanate. [6] It is sometimes used to split tone photographs previously toned in selenium for artistic purposes. [7] Dye toning Dye toners replace the metallic silver with a dye . The image will have a reduced lifetime compared with an ordinary silver print.[citation needed] Digital toning Toning can be simulated digitally, either in-camera or in post-processing . The in-camera effect, as well as beginner tutorials given for software like Photoshop or GIMP , use a simple tint. More sophisticated software tends to implement sepia tones using the duotone feature.

Simpler photo-editing software usually has an option to sepia-tone an image in one step. Examples The examples below show a digital colour photograph, a black and white version and a sepia-toned version. Colour image Photographic Technique of the Day… Image Toning with Gold - Prof. Boerner's Explorations Prof. Boerner's Explorations by Gerald Boerner In the early days of photography, the prints produced on Salt Paper and Albumen Paper were fragile after they completed the Printing-out process to remove some of the remaining silver salts with a water bath. Depending on how well this washing had been done, the print may have had much of the unused silver salts in the highlight areas had been cleared so that the print would survive. Unfortunately, this washing process was not always done sufficiently to assure the prints durability. Therefore, most of these Salt and Albumen Printing-Out paper images were toned following the clearing sequence. This consisted of placing the wet positive in a solution of a heavy metal like gold, selenium, or platinum. These solutions would bind with the remaining silver salts to form a more stable, non-photoreactive image with enhanced tonality.

In fact, most toning involved a two-step process with gold toning followed by sepia (iron) or selenium toning. The gave the images a more pleasing, richer look in the black areas. These toning processes also helped preserve the image since they inactivated the silver salts so that the prints could be shown in the light. We still use toning processes in our wet darkrooms. Unfortunately, the expense of gold and platinum have caused those toning processes from continuing to any appreciable extent. We do use sepia and selenium toning to enhance our black and white images. In the digital darkrooms, programs like Photoshop allow us to continue to use sepia toning.

GLB “People believe that photographs are true and therefore cannot be art.” — Mason Cooley “People taking photographs of their meals are not critics; they are from the United States.” — Louis de Bernieres “So I went to Chicago in 1940, I think, ’41, and the photographs that I made there, aside from fashion, were things that I was trying to express in a social conscious way.” — Gordon Parks “So successful has been the camera’s role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.” — Susan Sontag “The photographer begins to feel big and bloated and so big he can’t walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they’re really – the important people are the people he photographs.” — Gordon Parks “The idea of photographing an Arab man naked and having him simulate homosexual activity, and having an American GI woman in the photographs, is the end of society in their eyes.” — Seymour Hersh “Some time ago, we went to Asia and took a camera along, and I began to do what I’d done even years ago doing people.

I couldn’t get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.” — Ben Shahn “Photographs are still being taken but aren’t being shown. There’s one of a skeleton bound at the wrists with pants still around its ankles; if it was a woman, she was likely raped; if it was a man, he was possibly castrated.” — Nicholas D. Kristof Note: This posting is intended for the educational use of photographers and photography students and complies with the “educational fair use” provisions of copyright law. For readers who might wish to reuse some of these images should check out their compliance with copyright limitations that might apply to that use. GLB Early Photographic Technique: Gold Toning In photography, toning is a method of changing the colour of black-and-white photographs. In analog photography, toning is a chemical process carried out on silver-based photographic prints. The effects of these processes can be emulated with software in digital photography. Beginning in the 1880s, sepia was produced by adding a pigment, made from the Sepia officinalis cuttlefish found in the English channel, to the positive print of a photograph.

The term ‘sepia’ comes from the name of the pigment. An Orotone or gold tone is one of many types of photographic print which can be made from a negative. An orotone photograph is created by printing a positive on a glass plate precoated with a silver gelatin emulsion. Following exposure and development, the emulsion is coated with banana oil impregnated with gold colored pigment, to yield a gold-toned image. Alternatively, the developed glass plate can be gold-leafed by hand using 23 carat gold leaf. Being printed on glass, Orotone images are extremely fragile and often require specialized frames in order to prevent breakage. Other types of prints can be made with the same negative used to make an orotone. Consequently, silver gelatin prints and platinotypes (platinum, palladium) prints are also made by those who produce orotone prints. Historical Perspective Edward Sheriff Curtis was a photographer of the American West and of Native American peoples. The making of orotone prints was contemporary art in the early twentieth century. Orotones are often to be seen in interiors associated with the Arts and Crafts movement. Many of these orotones are by Seattle photographer Edward S.

Curtis who produced hundreds of orotone photographs of Native Americans during his career. Curtis developed the Curt-tone using techniques which he claimed were superior. Curtis’ Endorsement of the Orotone Process: "The ordinary photographic print, however good, lacks depth and transparency, or more strictly speaking, translucency.We all know how beautiful are the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage, yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless, so it is with the ordinary photographic print, but in the Curt-Tones all the transparency is retained and they are as full of life and sparkle as an opal." Scully & Osterman on Gold Toning Most people don’t realize how much depth of printing establishes the final image tone and are confused when they get weak tones from a toning formula. This is often the case when negatives don’t have enough silver density, spectral density or have a fogged base.

This bicarbonate type toner gives warm red brown to cool brown to purple brown tonality depending on the depth of printing and depth of toning. It can be used immediately after mixing. Percent solutions were rarely used in the nineteenth century. Toning formulas were based on the method of adding gold by the grain to the toning solution. The standard for making and using a gold chloride toning solution begins with dissolving 1.0 gram of gold chloride into a given quantity of water as follows. A gram is equal to 15.4 grains. Gold Chloride Stock Solution Gold chloride, 1.0 g (15.4 grains) Distilled water, 154.0 ml Based on the above example, every 10 ml will give you 1 grain of pure gold. So when a vintage formula calls for x quantity of water and so many grains of gold, it’s very easy. The pH is adjusted by test papers.

Gold-Bicarbonate Toning Formula for Albumen, Salt, and Collodion Paper Gold, 2.0 grains (20.0 ml of the stock solution given above) Distilled water, 700.0 ml Add: Bicarbonate of soda to test pH 8 More water or more gold can be added to make the bath more controllable if needed. For toning salt prints (which tone much faster) we start with 1.0 gram gold and tweak as needed. Sel d’Or (gold with hypo) One-Step Fix/Tone for Salt and Albumen This was the very first toning approach for photographic prints and was taken directly from the technique used to gild daguerreotypes except that in that technique heat was applied to the underside of the plate during the process. We usually mix this formula “to taste” but essentially it’s about 4 to 6 grains of gold stock solution added to a mixture of 1,000 ml with 150.0 grams hypo and a pinch of bicarbonate. The print will initially lighten up when first applied, but then darken gradually as gold replaces the silver. Like all gold toners, the action is more effective if performed slowly.

Adjust the gold or water content to require between 5 to 10 minutes at room temperature for complete toning. Gold Toning Process (Ilford Photo) Gold toning used alone gives blue blacks, but used with sepia toners produces orange-red effects. Most commercial gold toners are single solution toners. When used on their own, gold toners will shift the image colour of a print to a blue black. However, when used in combination with a sepia toner – they will produce attractive orange-red colours. The mechanism involves gold metal being deposited onto the silver of the image. Examples of commercial gold toners include :- Berg gold protective solution, Photographers Formulary Gold 231, and Tetenal gold toner. Prints toned in gold toners generally have similar density and contrast to untoned prints – the image being used should receive normal exposure and be fully developed. For detailed processing methods – refer to the instructions supplied with the chosen gold toner. Double Toning: Gold plus Selenium or Sepia Double toning is a technique that is particularly useful with warm-tone chloride or chlorobromide emulsions. Such emulsions are quite susceptible to color changes as a result of developer and toner choice.

Double toning can sometimes provide a depth and variety of color that cannot be obtained with the use of a single toner. Agfa Portriga Grade 3, toned in selenium and gold. In the original, the shadows show subtle hints of purple-brown, while the high values reflect blue. The colors are very difficult to reproduce accurately. Before I proceed, I need to state clearly that the illustrations provided in this article can only approximate the tonal qualities of the actual prints. If your monitor has been carefully calibrated, you will see an image that is close to the original, but probably still not perfect. Calibration is an inexact art, and I have found that scanners also tend to see and render colors differently than the human eye. I have done my utmost to make these scans as close to the original as possible, but I have not succeeded perfectly. The quality of your monitor, its state of calibration, your color depth and screen resolution (as well as any intoxicants you may have imbibed) will affect how you see these illustrations. My early experiments with double toning took place in the late-80’s [late-1980’s].

At that time I was working primarily with Agfa Portriga developed in Dektol or the Agfa 113 amidol formula and toned in selenium and gold. The gold toners I worked with were Ansco 231 and Dupont 6-T. Double toning Agfa Portriga in selenium and gold produces a unique range of purple-blues and purple-blacks with cool blue midtones. The process works equally well with Agfa Insignia and most other warm tone papers. This is a print on Agfa Portriga Rapid grade 3, developed in Agfa Neutol and toned in selenium and gold. Looking at the print color, most photographers would assume it was on a bromide paper, but it has very subtle purple-brown blacks and light blue midtones. A print that has been partially toned in selenium may be deeply toned in gold toner to produce a deep blue-black color with hints of purple. This is considerably warmer and richer than the very cold blue obtained with gold toner alone, and is probably as close as you can get to a neutral black image color with a warm-tone paper. Double toning adds a depth and richness to the blacks that may not be obtainable otherwise.

The richness of the blacks can be subtly enhanced with an amidol developer. Unlike selenium, which selectively tones the low values first, gold toners tend to affect the entire image at once. Double toning adds considerable density to the print, so it is necessary to print with less density and contrast than you desire in the final product. I often find it necessary to make several prints, each successively a bit lighter, in order to obtain one that gives the exact effect I am seeking. Most of the time, I am looking for a rather subtle effect from gold toner, so I find it very wasteful to mix an entire gold toner formula–the solution doesn’t keep and I almost always have more toner than I can use in a single session. Dupont 6-T gold toner was actually designed as an after-bath to modify image tones with a thiourea bleach-and-redevelop toning system, but I have found it extremely useful as a stand-alone toner. Dupont 6-T only requires 6 grams of potassium thiocyanate. It also calls for an entire gram of gold chloride, but this is where I modify the formula.

I dissolve the gram of gold chloride in 100 ml of distilled water to make a 1% solution which keeps perfectly well in a brown glass bottle (it is light sensitive, so it is best stored in the dark). With this modification, Dupont 6-2 becomes economical to use. To tone a single print, I add only 1-2 ml of 1% gold chloride solution. For very subtle effects, I use the toner at about 80° F. At this temperature, toning takes 20-30 minutes and the process is easily stopped before it goes too far. If the toner is heated to 105° F. the toning only takes a minute or two, but can easily get out of control. Summary We’ve all seen those old photos of grandma’s that had lovely olde-worlde brown tones. While some are old images that were badly processed and have turned a brown colour because they’ve stained with age, most were deliberately made this way using a process known as sepia toning.

A sepia toned print not only gives a pleasant tonal range, it also has a longer archival lifetime than an untreated print, because silver sulphide is more stable than pure silver. Background and biographical information is from Wikipedia articles on: Wikipedia: Photographic Print Toning… + What's This? Split tone photography is a technique that has allowed photographers to produce some of the most amazing shots you will ever see. Done well, it can transform a scene into an eerie or stark movie-like scape. Done poorly, it doesn’t look too great at all. We decided to trawl the internet for the best resources on the art of split tone photography so that you can hone your own skills. What is Split Tone Photography? Split toning uses more than one colour to tone an image. Backgrounder: In traditional print photography, toning was a way to change the basic colour of black and white photographs (traditional toning still creates a monochromatic image). Perhaps the most popular type of toning done traditionally was Sepia which produced a brown to orange cast and warms the overall photograph. Experimentation with traditional forms of toning such as sepia eventually lead to several ways to “split tone” a photograph.

For example, with sepia photographs, if the final bleaching was incomplete, the result was that the highlights would be sepia with the mid-tones and shadows remaining grey. This was one of the original ways to “split tone” a photograph. When is It Best to Use Split Toning? In the early days, split toning simply afforded photographers an extra avenue to pursue in their art form. It was one more arrow in their quiver and became quite popular in some quarters. Today many photographers still enjoy the images that can be produced by emulating split toning in post-production software such as Photoshop and Lightroom. Often split toning can comfortably match a theme – think “blue steel” or “red dawn” and photographers often employ the technique to give a little extra punch to monochromatic images. River Lightroom by ansik , on Flickr How Do I Make Split Tone Photographs? There are a lot of different ways to get the split tone effect in digital photography. Many of the most popular post-productions packages have the ability to turn out very high quality split tone images. We have collected a few tutorials on the more common packages below – Photoshop, LightRoom, Aperture and GIMP.

How to Do Split Toning in Photoshop Split Toning in Photoshop is a great tutorial from the clever people at Digital Photography School who always manage to put out amazingly high-quality tutorials. This one is no different and covers the fundamentals (with lots of screen shots so you can follow along easily) of using Photoshop for this fun technique. Two Quick Split Toning Techniques in Photoshop covers a couple of ways to achieve this effect and is put together by the folks at Tuts+ who are also always producing amazing tutorials like this. There are some good screen shots to give you an idea of what they are doing and solid examples of the effects. Breath Taking Split Toning Effect is another Photoshop tutorial worth checking out (similar to the other examples), but the initial comparison of potential split toning effects is a good little visual representation of what can be achieved. Split Toning in Photoshop is a great little video on Youtube from Yanik’s Photography School (which is a cool site that you should check out too). It’s a few years old now, but the process still works with more recent versions of Photoshop. Worth a watch if you prefer learning these things by watching others do them.

How to Do Split Toning in Lightroom Split Toning Color Images in Adobe Lightroom is a 13 minute video on how to get the split tone effect in one of the most popular image management software packages around. Create Beautiful, Warm Photos With Split Toning is a great tutorial from the folks at the Tuts Plus network (which is an amazing quality site if you didn’t already know) which focusses on enhancing the warm tones of the image with the split toning method. Lots of screen shots and progressive example to work to too! How to Do Split Toning in Apple Aperture Surprisingly, there are not too many tutorials online about split toning images in Apple Aperture. Somebody really needs to write some more so we can link to them from here (hint, hint)! These couple are a good start though. Split Toning in Aperture 3 – This is probably the best tutorial of any version of Aperture and is well worth the read for Aperture users. Aperture vs Lightroom – Split Toning – This is a comparison come tutorial for split toning in Aperture and it covers Lightroom too and how they compare. Definitely worth a read for Aperture users though.

It’s brief, but gets the point across. How to Do Split Toning in GIMP GIMP Split Tone Tutorial – takes you through a very effective example of split toning in GIMP with an amazing result. Well worth a read from one of the best sites on the internet for the open source software phenomenon known as GIMP. How to Split Tone with Gradient Map in the GIMP – takes you through an alternative way to get the split toning effect in GIMP. Check Out These Great Examples of What Can be Done With Split Tone Photography

Question: What is the name of the toning that produces brown and white photographs?
Answer: Sepia